Platform: New York

A graphic text header that reads Platform: New York. Dated 2020
A text description that reads 47 Canal, Bridget Donahue, Bureau, Company, David Lewis,
Elijah Wheat Showroom,
ESSEX STREET, James Fuentes, JTT, Magenta Plains,
Queer Thoughts, Ramiken
A text description that reads: With physical galleries and museums temporarily closed during these uncertain times, the art community has increasingly turned to digital spaces to share the work
of artists, and to engage passionate audiences all over
the world. We are proud to host , a new online initiative that brings together twelve New York–based galleries—our friends, neighbors, and peers—to present available works from a single artist on their rosters.
A graphic text card for 47 canal, dated 2020
A graphic text card for Josh Kline, dated 2020
A detail from a work by Josh Kline, titled Submersion, dated 2019
A text description that reads Josh Kline (b. 1979, Philadelphia, USA) lives and works in New York. This fall the first major survey of Kline’s work
will be mounted at the Astrup Fearnley Museet in Oslo. His work will also be included in upcoming shows at the Schinkel Pavilion, Berlin; and The Stedelijk Museum, Amsterdam; among others.
A sculpture by Josh Kline titled Reality Television 9, dated 2019.

Josh Kline

Reality Television 9, 2019
Nylon flags, dirt, polyurethane, epoxy, microfiber, mounting hardware
26 x 44 x 6 inches (66 x 111.8 x 15.2 cm)

47canal.us

A sculpture by Josh Kline titled Desperation Dilation, dated 2016.

Josh Kline

Desperation Dilation, 2016
Cast sculptures in silicone, shopping cart, polyethylene bags, rubber, plexiglas, LEDs, and power source
46 x 29 x 40 inches (116.8 x 73.7 x 101.6 cm)
Edition 3 of 3, 2 AP

47canal.us

An installation view featuring works by Josh Kline, dated 2016
Installation view, Unemployment, 47 Canal, New York, 2016
Photo: Joerg Lohse
Above: Josh Kline, Submersion (detail), 2019
Installation view, Unemployment , 47 Canal, New York, 2016
Photo: Joerg Lohse
Above: Josh Kline, Submersion (detail), 2019
A graphic text header for Bridget Donahue, dated 2020
A graphic text card for Lisa Alvarado, dated 2020
A photograph of Lisa Alvarado
A painting by Lisa Alvarado, titled Traditional Object (Thalweg), dated 2020.

Lisa Alvarado

Traditional Object (Thalweg), 2020
Acrylic, fabric, wood
78 x 64 inches (198.1 x 162.6 cm)

bridgetdonahue.nyc

A painting by Lisa Alvarado, titled Traditional Object (Thalweg), dated 2020.

Lisa Alvarado

Traditional Object (Thalweg), 2020
Acrylic, fabric, wood
74 x 88 inches (198.1 x 223.5 cm)

bridgetdonahue.nyc

A quote that reads “These works are repositories of memory, vibrational maps, and reminders of invisible states. They are
sensorial assemblages that recall awareness to mixture
( ) within geometric hands, moon tide shapes,
and sand textures.” —Lisa Alvarado
An installation view featuring works by Lisa Alvarado, dated 2017
Installation view, Lisa Alvarado: Sound Talisman, Bridget Donahue, New York, 2017
Above: Portrait of Lisa Alvarado. Photo: Charlie Gross
Installation view, Lisa Alvarado: Sound Talisman , Bridget Donahue, New York, 2017
Above: Portrait of Lisa Alvarado. Photo: Charlie Gross
A graphic header for Bureau, dated 2020
A graphic text card for Brandon Ndife, dated 2020
A photograph of Brandon Ndife
A text description that reads Brandon Ndife’s work envisions a post-disaster horizon where vegetal and fungal forms take over our built environments. His exhibition was set to open on March 20, 2020, but these works now stand alone in an otherwise empty gallery, a prescient mirror to our current reality.
A mixed media sculpture by Brandon Ndife, titled Hygge, dated 2020.

Brandon Ndife

Hygge, 2020
Plywood, cast foam, earth pigment, AquaResin, resin, enamel, ceramic plates
38 1/2 x 25 x 21 inches
(97.8 x 63.5 x 53.3 cm)

bureau-inc.com

A mixed media sculpture by Brandon Ndife, titled Door to Cupboard, dated 2020.

Brandon Ndife

Door to Cupboard, 2020
AquaResin, cast foam, earth pigment, enamel, door viewer
63 x 26 x 6 inches
(160 x 66 x 15.2 cm)

bureau-inc.com

An installation view featuring works by Brandon Ndife, dated 2020
Installation view, MY ZONE, Bureau, New York, 2020
Above: Portrait of Brandon Ndife. Photo by the artist
Installation view, MY ZONE , Bureau, New York, 2020
Above: Portrait of Brandon Ndife. Photo by the artist
A graphic text header for Company, dated 2020
A graphic text card for Troy Michie, dated 2020
A photograph of Troy Michie
A sculpture by Troy Michie titled Tacuche #4, dated 2019.

Troy Michie

Tacuche #4, 2019
Clothing fragments, shoe fragments, hanger with zoot suit jacket
57 x 23 inches (144.8 x 58.4 cm)

companygallery.us

A mixed media piece by Troy Michie titled Los Atravesados/ The Skin Of The Earth Is Seamless, dated 2019.

Troy Michie

Los Atravesados/ The Skin Of The Earth Is Seamless, 2019
Found photograph, cut paper, tape, papier-mâché, canvas, cut clothing, belt, ink, graphite, wax crayon, and acrylic on woven magazine pages
61 1/2 x 51 1/2 inches (156.2 x 130.8 cm)

companygallery.us

A text description that reads Troy Michie is an interdisciplinary painter and collage artist. His work engages black consciousness, Latinx experience, immigration, and queerness through assemblage and juxtaposition.
An installation view of the Whitney Biennial in New York, dated 2019.
Installation view, Whitney Biennial, New York, 2019
Above: Portrait of Troy Michie. Photo: Christian DeFonte
Installation view, Whitney Biennial, New York, 2019
Above: Portrait of Troy Michie. Photo: Christian DeFonte
A graphic text header for David Lewis, dated 2020
A graphic text card for Kyle Thurman, dated 2020
A photograph of Kyle Thurman
A text description that reads Kyle Thurman (b. 1986, West Chester, Pa) considers the subjective relationships to the distribution, digestion, and aging process of digital imagery. An installation of works from this series, Suggested Occupation, was recently featured in the 2019 Whitney Biennial.
A work on paper by Kyle Thurman titled Suggested Occupation 19, dated 2018.

Kyle Thurman

Suggested Occupation 19, 2018
Charcoal, colored pencil, glitter, graphite, and pastel on seamless paper in artist’s frame
23 1/4 x 30 3/8 x 1 3/4 inches (59.1 x 77.2 x 4.4 cm)

davidlewisgallery.com
A work on paper by Kyle Thurman titled Suggested Occupation 23, dated 2018.

Kyle Thurman

Suggested Occupation 23, 2018
Charcoal and pastel on seamless paper in artist’s frame
38 x 28 5/8 x 1 3/4 inches (96.5 x 72.7 x 4.4 cm)

davidlewisgallery.com
An installation view featuring works by Kyle Thurman, dated 2020
Installation view, Error erred, David Lewis, New York, 2020. Photo: Joerg Lohse
Above: Portrait of Kyle Thurman
Installation view, Error erred , David Lewis, New York, 2020. Photo: Joerg Lohse
Above: Portrait of Kyle Thurman
A graphic text header for Elijah Wheat Showroom, dated 2020
A graphic text card for Zsofia Keresztes, dated 2020
A photograph of Zsofia Keresztes
A quote that reads “The two smaller wall-based mosaic pieces each depict an abandoned spider web. The teardrops glommed into their network can be described as preys of sadness or the self-pity of others.” —Zsófia Keresztes
A sculpture by Zsófia Keresztes, titled The Failure, dated 2020.

Zsófia Keresztes

The Failure, 2020
Glass mosaic, grout, styrofoam, expanding foam, glue, fiberglass
46 x 73 1/2 x 16 inches (116.8 x 186.7 x 40.6 cm)

elijahwheatshowroom.com

A sculpture by Zsófia Keresztes, titled Easy targets, heavy bites II, dated 2020.

Zsófia Keresztes

Easy targets, heavy bites II, 2020
Glass mosaic, grout, styrofoam, expanding foam, glue, fiberglass
14 x 19 x 13 inches (35.6 x 48.3 x 33 cm)

elijahwheatshowroom.com

An installation view featuring work by Zsofia Keresztes, dated 2020
Installation view, Glossy Inviolability, Elijah Wheat Showroom, Brooklyn, 2020. Photo: Philip Hinge / Dávid Biró
Above: Portrait of Zsófia Keresztes. Photo: Dávid Biró
Installation view, Glossy Inviolability , Elijah Wheat Showroom, Brooklyn, 2020. Photo: Philip Hinge / Dávid Biró
Above: Portrait of Zsófia Keresztes. Photo: Dávid Biró
White text on black: “ESSEX STREET, 55 Hester St, New York, NY 11002”
“Park McArthur” in black text on white.
Black vinyl letters on a white wall that read, “https://en.wikipedia.org/wiki/Marta_Russell.” Between the “e” and the “n”, the text crosses over a small crack on the wall.
Black text on white that says, “Park McArthur (b. 1984) lives and works in New York. She has had solo exhibitions at the Museum of Modern Art; San Francisco Museum of Modern Art; and Chisenhale Gallery in London. This autumn, she will have a solo exhibition at the Kunsthalle Bern in Switzerland.”
A MoMA Audio listening device (an iPod in a blue case). On the screen, the current track is 340, titled “53 W 53 Tower Model, 2018.” There is a thumbnail image of the tower model as well as buttons to adjust the volume, pause, and restart.

Park McArthur

PARA-SITES, 2018
MP3 file and written transcript

1 of 1 AP


Read the written transcript
Park McArthur | MoMA

essexstreet.biz
A framed advertisement. The ad features a photo of a tankless toilet on a marble platform. Text in the ad reads, “TOTO, NEOREST 700H, Dual Flush, Universal Height, eWater Technology.” Near the bottom is a circular logo that says, “SMART FACT, WATER, PEOPLE, PLANET” with an additional paragraph of copy.

Park McArthur

There's no place, 2018
TOTO Showroom flier
11 x 8 1/2 inches (27.9 x 21.6 cm)
Edition 4 of 5 + II AP

essexstreet.biz

A graphic text header for James Fuentes, dated 2020
A graphic text card for Keegan Monaghan, dated 2020
A photograph of Keegan Monaghan
A text description that reads Keegan Monaghan probes the imagined space between creator, viewer, and voyeur, arriving at paintings whose surfaces and subjects serve alternately as barriers and entry points.
An installation view of the Whitney Biennial in New York, dated 2019.
Installation view, Whitney Biennial, New York, 2019
Above: Portrait of Keegan Monaghan. Photo: Oto Gillen
Installation view, Whitney Biennial, New York, 2019
Above: Portrait of Keegan Monaghan. Photo: Oto Gillen
A painting by Keegan Monaghan titled The Paper (still life), dated 2017.

Keegan Monaghan

The Paper (still life), 2017
Oil on canvas
14 x 17 inches (35.6 x 43.2 cm)
Red oak frame: 15 1/2 x 18 1/2 inches (39.4 x 47 cm)

jamesfuentes.com

A painting by Keegan Monaghan, titled Wall, dated 2020.

Keegan Monaghan

Wall, 2020
Oil on canvas
60 3/8 x 72 inches (153.4 x 182.9 cm)

jamesfuentes.com

A graphic text header for JTT, dated 2020
A graphic text card for Elaine Cameron-Weir, dated 2020
A detail of a work by Elaine Cameron-Weir, titled Snake 11, dated 2019
A text description that reads Elaine Cameron-Weir (b. 1985 Red Deer, Canada) lives and works in Queens. She has had one person exhibitions at The Dortmunder Kunstverein, Storm King Art Center and The New Museum. In 2021, she will have a solo show at the Henry Art Gallery in Seattle.
A sculpture by Elaine Cameron-Weir titled the difference between the PILLOW and the PIT at least. Yet. The history of nothing. A see thru..., dated 2018.

Elaine Cameron-Weir

the difference between the PILLOW and the PIT at least. Yet. The history of nothing. A see thru dress, A see thru brain. thoughts in xrated A ceremonially, 2018
Parachute silk, stainless steel, leather, sandbags
Dimensions variable; panel dimensions: 63 x 36 x 7 inches (160 x 91.4 x 17.8 cm)

jttnyc.com

A sculpture by Elaine Cameron-Weir titled In Martinique the root of Monstera Deliciosa is used to make a remedy for snakebite, dated 2015.

Elaine Cameron-Weir

In Martinique the root of Monstera Deliciosa is used to make a remedy for snakebite, 2015
Brass, alabaster
Stone dimensions: 10 x 6 x 17 1/4 inches (25.4 x 15.2 x 43.8 cm)
Overall height: 85 inches (215.9 cm)

jttnyc.com

An installation view featuring works by Elaine Cameron-Weir, dated 2019
Installation view, strings that show the wind, JTT, New York, 2019
Above: Elaine Cameron Weir, Snake 11 (detail), 2020
Installation view, strings that show the wind , JTT, New York, 2019
Above: Elaine Cameron Weir, Snake 11 (detail), 2020
A graphic text header for Magenta Plains, dated 2020
A graphic text card for Nathaniel Robinson, dated 2020
A photograph of Nathaniel Robinson
A text description that reads Derived from photographs and subdued in color, Nathaniel Robinson’s paintings comment on the intermixing of natural and built worlds in an unplanned way and on the physical shattering of ecosystems while presenting a picture of quotidian serenity.
An untitled painting by Nathaniel Robinson dated 2020.

Nathaniel Robinson

Untitled, 2020
Oil on canvas
48 x 72 inches (121.9 x 182.9 cm)

magentaplains.com

An untitled painting by Nathaniel Robinson dated 2020.

Nathaniel Robinson

Untitled, 2020
Oil on canvas
48 x 72 inches (121.9 x 182.9 cm)

magentaplains.com

A photograph of Nathaniel Robinson's studio
Nathaniel Robinson's studio. Courtesy the artist and Magenta Plains
Above: Portrait of Nathaniel Robinson
Nathaniel Robinson's studio. Courtesy the artist and Magenta Plains
Above: Portrait of Nathaniel Robinson
A graphic text header for Queer Thoughts, dated 2020
A graphic text card for Megan Marrin, dated 2020
A work by Megan Marrin, titled Scold 3, dated 2019
A text description that reads Megan Marrin is a New York-based artist known for her lucidly painted subjects such as birdcages, torture instruments, and corpse flowers. Her series, Convalescence, explores themes of healing and recovery in depictions of a single object: the ribcage shower.
A painting by Megan Marrin titled The Rest Cure, dated from 2019 to 2020.

Megan Marrin

The Rest Cure, 2019-2020
Oil on canvas on styrofoam
94 x 48 x 1 inches (238.8 x 121.9 x 2.5 cm)

queerthoughts.com
A painting by Megan Marrin titled The Regimen, dated from 2019 to 2020.

Megan Marrin

The Regimen, 2019-2020
Oil on canvas on styrofoam
94 x 48 x 1 inches (238.8 x 121.9 x 2.5 cm)

queerthoughts.com
A photograph of Megan Marrin's studio.
Megan Marrin's studio. Courtesy the artist and Queer Thoughts
Above: Megan Marrin, Scold 3, 2019
Megan Marrin's studio. Courtesy the artist and Queer Thoughts
Above: Megan Marrin, Scold 3, 2019
A graphic text header for Ramiken, dated 2020
A graphic text card for Sven Sachsalber, dated 2020
A photograph of Sven Sachsalber
A text description that reads Sven Sachsalber was born in 1987 in Silandro, Italy. He lives and works in New York
A painting by Sven Sachsalber titled Untitled (Saeco), dated 2020.

Sven Sachsalber

Untitled (Saeco), 2020
Acrylic on canvas, thread
68 x 40 x 1 1/8 inches (172.7 x 101.6 x 2.9 cm)

ramikencrucible.com

A painting by Sven Sachsalber titled Untitled (Gruyère), dated 2020.

Sven Sachsalber

Untitled (Sbrinz), 2020
Acrylic on canvas, thread
68 x 40 x 1 1/8 inches (172.7 x 101.6 x 2.9 cm)

ramikencrucible.com

An installation view featuring works by Sven Sachsalber, dated 2019
Installation view, Bacon and Cheese, Ramiken, Brooklyn, 2020. Photo: Sebastian Bach
Above: Portrait of Sven Sachsalber. Photo: Julia Biasi
Installation view, Bacon and Cheese , Ramiken, Brooklyn, 2020. Photo: Sebastian Bach
Above: Portrait of Sven Sachsalber. Photo: Julia Biasi
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